Laurie Beth Clark

(608) 262.2835

6241 Mosse Humanities Building

Laurie Beth Clark

Professor of Art, Video/Performance/Installation
M.F.A. Rutgers University, 1983
M.A. University of New Mexico, 1981
B.A. Hampshire College, 1976
Research Interests
Over the years, the recurring themes in Clark’s work are gender and ethnicity, the nexus of employment and unemployment, and the persistence of material culture into the electronic era. Clark also collaborates with Michael Peterson under the group name Spatula and Barcode on creative projects that explore hospitality and discourse.


2013 “Mnemonic Objects: Forensic and Rhetorical Practices in Memorial Culture”. in After the Violence: Memory.edited by Marc Silberman and Florence Vatan. London: Palgrave.

2013 “Ethical Spaces”. in Death Tourism: Disaster Sites as Recreational Landscape. edited by Brigitte Sion. Calcutta: Seagull Books.

2013 “Mistopian Performance”. in MISperformance. edited by Marin Blasevic and Lada Cale Feldman. London: Palgrave.

2012 “Talking in the City”. with Michael Peterson. in Performing Tangier 2011.

2013 “Coming to Terms with Trauma Tourism”. In Visions and Revisions: Performance, Memory, Trauma. edited by Caroline Wake and Briony Trezise. Copenhagen: Museum Tusculanum Press.

2012 “This comment has been flagged as spam.” Journal of Visual Culture dedicated to the 40th anniversary of the publication of John Berger’s Ways of Seeing.

2011 “What the Jews Do”. In Jews and Performance. Edited by Jill Dolan and Stacy Wolf. TDR. 55:3. Fall

2011 Co-authored with Leigh Payne. “Trauma Tourism in Latin America”. in Accounting for Violence: Marketing Memory in Latin America. Bilbija and Paine. ed. Durham: Duke.

2011 “Never Again and its Discontents”. On Trauma. Edited by Patrick Duggan and Mick Wallis. Performance Research. Volume 16. No. 1.

2010 “Veracity”. Essay and DVD in XI Coloquio de Outono. Estudos Performantivos: Global Performance, Political Performance. Centro de Estudos Humanisticos. Universidade de Minho. Braga. PORTUGAL

2010 “Misadventure”. Artist Pages. Misperformance. Performance Research. Volume 15. No. 2. (June)

2010 “Always Already Again: Trauma Tourism and the Politics of Memory Culture”. Encounters: Journal of Tourism and Transnational Studies. Volume 1

2010 “I see you? Gender and Disability in Avatar”. Co-authored with Lisa Nakamura and Michael Peterson. FlowTV 11.3 (5 February) []

2009 “Vampire Politics”. Co-authored with Lisa Nakamura and Michael Peterson. FlowTV 11.3 (4 December) []

2009 “Coming to Terms with Trauma Tourism”. After Effects: Performing the Ends of Memory. Performance Paradigm 5.2. []

2008 “Shin’s Tricycle”. in The Object Reader. Edited by Fiona Candlin and Rayford Guins. London: Routledge

2008 Review of Encounters: Performance. Photography. Collaboration by Manuel Vason. Contemporary Theatre Review 18.3 (August)

2008 On Objects. Journal of Performance Research. edited by Laurie Beth Clark. Richard Gough. and Daniel Watts. London: Routledge.

2007 “Veracity”. Blaze: Discourse on Art. Women and Feminism. Frostig and Hamlaka. ed. Cambridge: Cambridge Scholars Press

2006 “Report from Field Station Number Seven”. A Performance Cosmology: Testimony from the Future.Evidence of the Past. Edited by Christie, Gough, and Watt. London: Routledge

2006 “Trauma Memorials”. in Place and Performance. Edited by Leslie Hill and Helen Paris. London: Palgrave Macmillan.

2005 “Performing Truth”. The Art of Truthtelling After Authoritarian Rule. Edited by Ksenija Bilbija, JoEllen Fair, and Leigh Payne. Madison: University of Wisconsin Press

2003 “Ding Dong School”. Theatre Topics. Fall

2001 Interview. Guerilla Performance and Multimedia. Leslie Hill and Helen Paris. London: Continuum

2001 “Geophilia’s Galaxy”. Artists’ Pages. Co-authored with Susan Bernstein. Performance Research. Volume 6. No. 2 (Summer)

1999 “On Pickling”. Artists’ Pages. Co-authored with Li Chiao-Ping, Michael Peterson, and Douglas Rosenberg. Performance Research. Volume 4. No. 1 (Spring)

1992 Review of Power Pipes by Spiderwoman Theater at the Edgewater Theatre Center in Chicago. High Performance #57 (Spring): 56


Art 318: Non-Static Forms
Art 418: Installations and Environments
Art 448: Special Topics:
– Collaborations
– Relational Aesthetics
– Artists as Curators
Art 469/Theatre 469: Performance
Art 508: Colloquium
Art 518: Artists’ Video
Art 608: Interdisciplinary Critique
Art 618: Advanced Video
Art 699: Independent Study (Undergraduate)
Art 718: Art Performance
Art 908: Graduate Seminar:
– The Art World: In Theory and In Practice (1986)
– Artists Writing (1987)
– Aesthetic Pedagogy (1988)Politics of Representation (1989)
– Drawing in the Margins (1990)
– Readings in Multicultural Production (1991)
– Art and Social Change (1991)
– Conversations in Contemporary Culture (1992)
– Cultural Studies and the Visual Arts (1994)
– Postmodernism: Coming to Terms (1994)
– Artist and Audience (1995)
– Imagining the Artist (1996)
– Theory (1997)
– Visual Culture (1999)
– Digital Culture (2002)
– Space (2003)
– Memory Culture (2007)
– Introduction to Graduate Studies (2009)
– Tourism (and) Culture (2010)
– Critique and Criticism (2010, 2013)
– Trauma/Culture (2012)
Art 914: Advanced Research
Art 999: Independent Study (Graduate)